User Manual
Contents
1. u eee neces cee2. 10dBu As with the input level switch an output operating level switch is located on the rear panel allowing either 4dBu or 18dBu for balanced connections and 10dBu or 4dBu for unbalanced connections thus matching both outputs with a wide variety of equipment The optional DO 2 24 bit digital output card provides A D conversion of the 5013 s outputs outputted in SPDIF format with switchable 44 1 48kHz sample rate A BNC wordclock input is also provided Please read this manual fully before installing or operating the 5013 Equaliser 2 PRECAUTIONS The 5013 Equaliser requires very little installation but like all electrical equipment care must be taken to ensure reliable safe operation The following points should always be observed All mains wiring should be installed and checked by a qualified electrician Ensure the correct operating voltage is selected on the rear panel before connecting to the mains supply Never operate the unit with any cover removed Do not expose to rain or moisture as this may present an electric shock hazard Replace the fuse with the correct type and rating only Warning This equipment must be earthed 3 INSTALLATION 3 1 Mains Supply The unit is fitted with an internationally approved 3 pin IEC connector A mating socket with power cord is provided with the unit wired as follows Brown Live Blue Neutral Green Yellow Earth Ground All mains wiring s
3. 4dBu Input and Output EQ ON with all controls centred 106dB Internally set to 230V 50Hz or 115V 60Hz operation Detachable IEC power cord Consumption 25VA 19 Rack mounting 2U high W x D x H 483 x 200 x 88mm 19 0 x 7 9 x 3 5 Shipping Weight 6kg The above specifications are typical figures and are subject to change without notice 7 SERVICE Should the 5013 require service it must be taken or posted to an authorised dealer Please retain the original packing for possible future use and ensure the unit is suitably protected during transit The manufacturer cannot accept responsibility for damage caused during transportation The 5013 is supported by a limited warranty for a period of one year from the date of purchase During this period any faults due to defective materials or workmanship will be repaired free of charge The warranty excludes damage caused by deliberate or accidental misuse operation on the incorrect mains voltage or without the correct type and value of fuse fitted It is the user s responsibility to ensure fitness for purpose in any particular application The warranty is limited to the original purchase price of the equipment and excludes any consequential damage or loss Please include proof of purchase date if claiming repair under warranty For your own records please complete the following details Serial Date purchased
4. the cooling vents on the front and sides are clear of obstruction and do not subject the unit to an external source of heat by mounting immediately above a power amplifier for example If used free standing ensure that the equipment is protected against rain and spillage of liquid 3 9 Rear Panel The rear panel connectors are identified in Fig 3 Make sure that all settings mains and audio connections have been made as described above before attempting to operate the equipment 4 OPERATION 4 1 Front Panel The front panel controls are identified in Fig 2 42 Line Input A line level signal should already be at about the correct operating level but check that the input level switch is correctly set see section 3 2 An input gain adjustment may be made if necessary 43 Instrument Input The front panel instrument input socket is suitable for low level sources such as dynamic microphones pick ups or passive guitars and higher level sources such as active guitars and keyboards The instrument gain is controlled by the 5013 input gain control Due to the wide range of the input a high level of gain is available in the equaliser and care should be taken not to apply excessive input gain to a high level signal Please note also that the instrument input is not designed to accept the output of a power amplifier such as that from a guitar backline amp 4 4 Drive and Peak LEDs The yellow Drive LED provides a visual indica
5. LED can be easily lit and in this case you will need to compensate by easing back on the output gain control 45 Equalisation Before switching the EQ into circuit it is advisable to set the cut boost controls to their centre or flat position Each channel of EQ is brought into circuit with the overall EQ ON push switch positioned to the far right of the unit green LED signals EQ ON The four bands of EQ per channel are labelled as LF low frequency LM and HM low and high mid frequency and HF high frequency However the frequency variation available on each band allows overlapping of two or more bands into the same frequency range This arrangement allows maximum flexibility permitting reduction of a narrow band whilst simultaneously boosting an overlapping broader band of frequencies for example Used individually or in combination the filter bands allow comprehensive equalisation of any audio signal The typical response curves and the effect of the control setting variations are shown in the specification section of this manual The 5013 has a notably wide bandwidth of 10Hz to 40KHz 4 6 Cut Boost Control Each of the four EQ bands has a 15dB gain control that is used to apply cut or boost at the frequency selected by the Frequency control Often EQ ing is as much about cutting frequencies as it is about boosting them and removing excessive bass or mid frequencies from signals to help them sit better
6. Q controls 6 SPECIFICATIONS Line Inputs Instrument Input Input Gain Range Maximum Input Level Outputs Output Gain Range Maximum Output Level Frequency Response Equaliser LF Band LM Band Balanced XLR switchable 4dBu 18dB nominal level Unbalanced jack switchable 10dBu 4dB nominal level Front panel jack Input Impedance 1Mohm 20dB Line 2dB to 38dB Instrument 30dBu XLR 26dBu Jack 10dBu Instrument Balanced XLR switchable 4dBu 18dB nominal level Unbalanced jack switchable 10dBu 4dB nominal level 200B 26dBu XLR 12dBu Jack 0 1dB 10Hz to 40KHz 4 band fully parametric with overall EQ ON switch 15dB at 30Hz to 1KHz Q variable 0 8 to 7 Switchable to shelving mode 15dB at 100Hz to 3KHz Q variable 0 8 to 7 HM Band HF Band FAT Response Distortion Drive LED Peak LED Noise Dynamic Range Power Requirements Dimensions 15dB at 1KHz to 12KHz Q variable 0 8 to 7 15dB at 3KHz to 20KHz Q variable 0 8 to 7 Switchable to shelving mode Predefined EQ contour maximum 3dB 10Hz to 40KHz Predominately second harmonic increasing with Drive level Typically 0 5 0dBu Increasing intensity to reflect valve drive commencing at 4dBu to full brightness at 14dBu Output Level at 0dB 20dBu Monitors Input Post EQ and Output Levels 82dB ref
7. Signal Phase or hot Pin 3 Signal Ground When using unbalanced signals into the balanced XLR input the signal ground may be obtained by linking pins 1 and 3 in the mating XLR connector If this connection is not made a loss in level may result 3 4 Unbalanced Line Input An unbalanced line level input at a nominal level of 10dBu is also provided on a 0 25 mono jack socket The mating plugs should be wired as follows Tip Signal Phase or hot Screen Ground 3 5 Instrument Input A 2 pin mono jack plug is required which should be wired as follows Signal Phase or hot Screen Ground The instrument input is suitable for direct connection of instruments including guitars and keyboards Good quality screened cable should be used particularly for microphone or low level sources to prevent hum or noise pickup 3 6 Balanced Output The output is via a balanced 3 pin male XLR connector The mating connector should be wired as follows Pin 1 Ground screen Pin 2 Signal Phase or hot Pin Signal Non Phase or cold 3 7 Unbalanced Output An unbalanced line output is provided for each channel on a 0 25 mono jack socket Tip Signal Phase hot Screen Ground 3 8 Mounting The equaliser may be free standing or mounted in a standard 19 rack Always ensure that
8. TPUT CHANNEL 1 OUTPUT CHANNEL 2 INPUT CHANNEL 1 INPUT WARNING FUSE T1AL 250V TO REDUCE THE RISK OF FIRE 230V 25VA 115 25 OR ELECTRICAL SHOCK ede I EE N LEVEL LEVEL DO NOT EXPOSE THIS EQUIPMENT O TO RAIN OR MOISTURE JACK TIP SLEEVE GND 4dBu 10dBu 4dBu 10dBu 10dBu 4dBu 10dBu 4dBu XLR 1 0 PIN2 VE PIN 3 18 4dBu 18dBu 4dBu 4dBu 18dBu 4dBu 18dBu IEC INLET BALANCED LINE OUTPUT OUTPUT LEVEL SWITCH INPUT LEVEL SWITCH BALANCED LINE INPUT VIA DO 2 DIGITAL OUTPUT CARD UNBALANCED LINE OUTPUT UNBALANCED LINE INPUT operation would be to set the input gain so that the drive LED is regularly illuminating with occasional lighting of the red Peak LED on transients If the input and output gain controls are set to their centre 0dB positions and there is no EQ boost applied the Peak LED will illuminate some 8dB after the Drive LED has reached its full intensity However it is possible to add gain further down the chain EQ boost or output level gain which will cause the Peak LED to illuminate at a lower level of Drive This situation implies that a high level of clean signal is present without driving the valves hard Remember that it is possible to apply huge amounts of gain to the input signal since all four bands have up to 15dB of gain available in addition to both input and output gain controls If a large amount of EQ is applied on one or more bands the Peak
9. ck machine into the 5013 line inputs clipping occurs even on low input gain settings then the 18dBu setting should be used Similarly If the line output of the 5013 is fed into a digital multitrack input and very large amounts of 5013 output gain are necessary to register OdBfs on the recorder the 18dBu setting should be used allowing the 5013 output gain to be set at a more conservative level The 5013 may be used to shift operating levels for example by connecting the unbalanced output of a semi pro mixing console to the equaliser s unbalanced input and taking the balanced output of the equaliser to the balanced input of a tape machine at 4dBu All line level inputs and outputs of the equaliser may be used simultaneously if required Balanced interconnection is always preferable to obtain the best headroom and noise rejection but can only be used effectively if the other equipment in the chain e g the mixing console also has provision for balanced connections 3 33 Balanced Line Input The line level input is via a 3 pin female XLR connector suitable for balanced or unbalanced line sources at a nominal level of 4dBu The mating connector should be appropriately wired as follows for balanced or unbalanced operation Balanced inputs Pin 1 Ground screen Pin 2 Signal Phase also known as or hot Pin Signal Non Phase or cold Unbalanced inputs Pin 1 Ground screen Pin 2
10. hould be performed by a qualified electrician with all power switched off and the earth connection must be used Before connecting the unit to the supply check that the unit is set for the correct mains voltage The unit is internally set for 110 120V 60Hz or 220 240V 50Hz operation and should only be changed by an authorised service centre The mains fuse required is 20mm anti surge 1AT rated at 250V If it is ever necessary to replace the fuse only the same type and rating must be used The power consumption of the equipment is 20VA Warning attempted operation on the wrong voltage setting or with an incorrect fuse will invalidate the warranty 3 2 Audio Operating Level The 5013 is equipped with inputs and outputs suitable for connection to a wide variety of other audio equipment Generally the balanced XLR connections will be required for interfacing to other professional equipment where the operating level line up level or nominal level will be 4dBu or approximately 1 2V rms The unbalanced jack connectors are generally intended for interfacing to semi professional equipment and have an operating level of 10dBu or about 225mV rms However the input and output level switches allow these levels to be shifted by 14dB i e to 18dBu on the XLRs suitable for high levels from a digital machine and 4dBu on the unbalanced jacks The normal default mode would be the 4dBu balanced setting but if upon feeding a digital multitra
11. in the mix is a common recording technique On the other hand TL Audio EQs are renowned for being very musical and very forgiving so you may find yourself being able to apply a lot more boost than other EQs and the sound will still retain its quality and not be destroyed as is often the case on cheap or poorly designed EQ sections particularly when pushed hard 47 Frequency Control This control sets the Frequency on each band that is to be cut or boosted The frequencies are variable over the following ranges LF band 30Hz to 1kHz LM band 100Hz to 3kHz HM band 1kHz to 12kHz HF band 3kHz to 20kHz 4 8 Q Bandwidth Control The Q of the filter is a measure of the shape of the frequency response curve and is closely related to the bandwidth or range of frequencies controlled by the filter narrow bandwidth high Q setting means that a tight band of frequencies either side of the selected centre frequency is affected by any cut or boost actions while a wide bandwidth low Q affects a much broader band of frequencies As a result high Q settings about 5 at the maximum setting on the 5013 are generally used for audio correction or effects for instance when a single troublesome frequency needs to be removed without upsetting the rest of the frequency spectrum or a single frequency needs to be boosted to create a particular unique sound proven technique for identifying frequencies is to set the Q control to
12. itch positioned to the far right of the unit indicated by a red LED The Fat switch adds a subtle boost to the low end and high end frequencies with a slight mid range dip meaning the overall volume is not altered The effect of this is to sweeten the signal in a similar manner to the boom and fizz effect of many Hi Fi speakers The Fat switch can be used on any signal or to fatten up an entire mix and may be used in conjunction with the rest of the EQ controls 4 11 Output Level The output level control is centre detented for OdB gain with 20dB of gain available The additional gain may be useful if the output of the equaliser is connected directly to a digital recorder that requires a high level of modulation Note that applying additional gain at the output will not increase the dynamic range of the signal but will increase the noise level as well as the audio signal being recorded and should therefore only be used if an output level in excess of the nominal 4dBu is required 4 12 Optional DO 2 Digital Output Card The 5013 is designed to accept the optional DO 2 24 bit digital A to D converter card to allow easy interfacing of the 5013 with devices such as sound cards and digital recorders The card feeds the converted output signals of channels 1 and 2 to the SPDIF phono output The sample rate is switchable between either 44 1kHz or to 48kHz and the card can be clocked to an external digital source via the BNC
13. its minimum narrow position apply a reasonable amount of boost in that EQ band and then sweep the Frequency control around until the problem or desired frequency is found since boosting will make the frequency prominent Cut rather than boost can then be applied if the frequency is troublesome and if necessary the Q can be widened to take out a broader band of frequencies Intermediate Q settings say 1 to 3 are generally used to enhance or reduce a broader range of frequencies typically to make an instrument or vocal stand out or recede into the mix Finally low Q values down to about 0 5 on the 5013 provide gentler contouring or sweetening of the response 4 9 Shelving EQ The low frequency and high frequency sections offer either peaking or shelving equalisation by means of a pull out switch on the Q control When the knob is pulled out the Q control itself becomes inactive and the section will process any frequencies below the selected frequency in the LF band or above the selected frequency in the HF band with a slope of 12dB per octave Shelving EQ be used to roll off low or high end frequencies or to boost all frequencies above or below the one selected by the variable frequency control This can be effective for warming the low frequencies or adding brightness or air to the top end frequencies 4 10 Fat Contour Switch Each channel of the 5013 has a FAT contour sw
14. l facilities whilst remaining straightforward to operate and represent excellent value for money The 5013 is a stereo parametric valve equaliser featuring four fully variable EQ bands on each channel The block diagram of one of the channels is shown in Fig 1 The balanced line input is via an XLR socket whilst the unbalanced connection is via a 0 25 jack socket The nominal input levels are 4dBu on the balanced connections and 10dBu on the unbalanced connections but these may be shifted to 18dBu and 4dBu respectively by the rear panel input level switch This feature offers greater flexibility of connection to other equipment particularly the latest generation of digital recorders which operate at very high signal levels The line inputs have an overall gain range of 20 to 20dBu The front panel instrument jack sockets allow direct access to the channel inputs The instrument inputs eliminate the need to use external DI Direct Injection boxes as they are suitable for a variety of sources including electric guitars bass guitars acoustic pickups synths samplers and drum machines The instrument input level is controlled by the 5013 input gain control The input level is monitored by both Drive and Peak LEDs Drive is a variable intensity LED designed to indicate the signal level through the valve stages and thus the amount of warming applied to the signal Peak is a conventional warning that clipping is about to
15. normal gain setting would be such that the Drive LED is illuminating regularly indicating that the valve stages are being driven correctly with occasional lighting of the Peak LED on transients Because the Peak LED illuminates 5dB before clipping there is still headroom available before distortion occurs so don t be too afraid of seeing this LED active just trust your ears With each EQ band set flat i e no cut or boost applied to any band activate the EQ ON switch Starting with any band you can then familiarise yourself with the three controls Gain Frequency and Q Section 4 8 outlines a common technique of identifying frequencies and with the Q control at its narrowest the effect of each band will be most pronounced You ll see how broadening the Q value will make the sound a little more rounded and musical hence the use of broad Q values of general sweetening and narrow Qs for more serious surgery The addition of significant boost one or more EQ bands can provoke the Peak LED to illuminate remember that there is a huge amount of gain potentially available so in this case reduce the output level control to compensate The FAT contour switch can be activated and you should be able to notice a subtle but effective lifting of the LF and HF almost like the Loudness button on some hi fi units This effect can be used on its own as a general purpose sweetener or used in conjunction with the other E
16. occur and will illuminate if there is an excessively high level present not just at the input but at any point in the signal chain Both channels feature a four band parametric equaliser with each band providing variable frequency gain and Q bandwidth controls The LF and HF sections include options for shelving or peaking response by means of a pull out Q control Pulling the Q control knob out converts the section to a shelving type equaliser with the Q control then becoming inactive The FAT contour switch provides a subtle but effective LF and HF lift while at the same time reducing the gain in the mid range this filtering provides a perceptible increase in warmth without altering the overall signal volume The master output level controls are post EQ These controls are centre detented for ease of line up but may be varied in conjunction with the input gain controls to alter the operating level through the circuitry optimising the operating level and hence headroom and signal to noise ratio of the unit It is possible to push the input levels harder to drive the valve stages and compensate by turning down the output gain Alternatively the input gain can be kept low for a cleaner sound and the output gain can be turned up to compensate This way a wide range of tonal colours is achievable The line output is via balanced XLR socket at a nominal level of 4dBu with an unbalanced output on 0 25 jack at a nominal level of
17. tion of the signal level through the valve stages and therefore the extent of warming or valve character being introduced The drive LED will gradually illuminate as the input level or gain is increased over the range 0dB to 12dB The red Peak LED operates as a conventional warning that clipping is about to occur The operating level of the entire signal chain is monitored and the LED illuminates when there is less than 5dB of headroom remaining Normal INPUT GAIN CONTROL 20 dB 20 wstrument INPUT O DRIVE INSTRUMENT O INPUT O DRIVE PEAK INSTRUMENT INPUT SHELVING SWITCH FIG 2 FRONT PANEL BY PULLING OUT Q CONTROL DIGITAL OUTPUT OPTIONAL WARNING ATTENTION THIS APPARATUS MUST BE EARTHED FOR CONTINUED PROTECTION AGAINST RISK OF FIRE REPLACE ONLY WITH SAME TYPE AND RATING OF FUSE OUTPUT LEVEL CONTROL cry O 5013 EQ BYPASS SWITCH 20 dB 20 OUTPUT DUAL VALVE 10 EQUALISER Qs dB 20 OUTPUT ON Q CONTROL MAINS POWER SWITCH FREQUENCY CONTROL FAT CONTOUR SWITCH CUT BOOST CONTROL FIG 3 REAR PANEL SAMPLE RATE SELECTOR SWITCH OPTIONAL W CLOCK INPUT OPTIONAL SPDIF OUTPUT CAUTION IN RISK on KECI O N ATTENTION RISQUE DE ELECTRONIQUE NE PAS OUVRIR Manufactured by TL Audio Limited England 5013 DUAL VALVE EQUALISER seria numeer WS UTILISER UN FUSIBLE DE RECHANGE DE MEME TYPE ET CALIBRE CHANNEL 2 OU
18. user manual Ivory 2 Series a HOO 6006005000 e636 Tet Ui DUAL VALVE EQUALISER TL Audio Ltd Letchworth Herts SG6 1 UK email info tlaudio co uk web http www tlaudio co uk CONTENTS INTRODUCTION PRECAUTIONS INSTALLATION AC Mains Supply Audio Operating Level Balanced Line Input Unbalanced Line Input Instrument Input Balanced Output Unbalanced Output Mounting Rear Panel OPERATION Front Panel Line Input Instrument Input Drive and Peak LEDs Equalisation Cut Boost Control Frequency Control Q Bandwidth Control Shelving EQ Fat Contour Switch Output Level Optional DO 2 Digital Output Card GETTING STARTED SPECIFICATIONS SERVICE FIG 1 CHANNEL BLOCK DIAGRAN 7 BAL LINE INPUT INPUT LEVEL SWITCH INPUT GAIN OUTPUT SAIN OUTPUT LEVEL i SWITCH STAGE INPUT INSTRUMENT INPUT 4 LM BAND lt gt x ttt DIGITAL OUTPUT COPTION BALANCED OUTPUT p VALVE STAGE UNBAL OUTPUT 1 INTRODUCTION Congratulations on purchasing the Ivory 5013 Dual Valve Equaliser by TL Audio The T L Audio Ivory 2 Series consists of a range of hybrid valve signal processors which utilise low noise solid state electronics in conjunction with classic valve circuitry to produce audio processing units offering very high quality signal paths with the unique valve audio character The Ivory 2 Series units offer comprehensive contro
19. wordclock input When clocking the DO 2 to an external source the sample rate setting on the DO 2 needs to be set to match the external sample rate otherwise correct locking may not occur and audible clicking may appear on the digital output In terms of gain the DO 2 will generate a signal level of OdBfs in the digital domain when 18dBu of output level is generated at the balanced line output of the 5013 5 GETTING STARTED Having connected the 5013 checking that the operating level switch is at the most suitable setting see section 3 2 it s time to put it into action Here s a simple step by step guide 1 The first stage is to set up the gains of the unit With the EQ section switched out start with the input and output gains at OdB Adjust the input gain so that the Drive LED illuminates with the chosen source material You should notice an audible change in sound character as the input gain is driven harder and the valves start to generate more harmonics If more output is then required then adjust the output level control accordingly Beneath the input gain there is a red Peak LED This lights up to warn that the signal is 5dB below clipping This LED monitors both the input stage and the output stage If the Peak LED is lit when the output gain is very low then this means the input gain may be set too high Alternatively if the LED lights up when the input gain is low then the output level control is too high The
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